Coherence in games: "Is this real life"

Convergence within our social relationships emanates our cultural development. As we manufacture the awareness of public space, the possibility of events becoming permanently captured on camera increase. (Jenkins, 2008, p.3) Videos of profanities become viral through user generated content, the production and consumption of which become modes that are unpredictable in outcome. Whilst manifests of indemnification surface our culture; we re-educate cultural understandings of what defines the 'real'. Drawing from this concept, how has the employment of games transpired as a predominant factor in the mass consumption of media? Whereas previous discussion dictates a shift in behavioural conduct; due to the mass distribution of New Media, how has New Media, such as the development of the gaming industry, altered our former understanding of the world around us? What are the “Defining features” (McGonigal, 2001, p.21) of games?

In relation to what is frequently misinterpreted as stereotypical “hard work”, (McGonigal, 2001, p.28) games are usually coherent with the notion of being an active procrastinator; source of diversion. A contradiction from this would be that 'games make us happy because they are hard work that we choose for ourselves, and it turns out that almost nothing makes us happier than good, hard work.' (McGonigal, 2001, p.28) Although enjoyable as a medium, games are by no means a lethargic leisure. “The opposite of play isn’t work. It’s depression.” (McGonigal, 2001, p.28) Players strive to improve their ability, and although this may not involve movements which are as vigorous or demanding as authentic scenarios, participants are diligent to advance or maintain usability in that particular virtual space. 'When we don’t choose hard work for ourselves, it’s usually not the right work.' (McGonigal, 2001, p.29)

“Compared with games, reality is too easy. Games challenge us with voluntary obstacles and help us put our personal strengths to better use.” (McGonigal, 2001, p.22) This “voluntary” inhabitation being key in what makes virtual “hard work” (McGonigal, 2001, p.28) an enjoyable platform in contrast to conventional understandings. 'Playing a game is the voluntary attempt to overcome unnecessary obstacles.' (McGonigal, 2001, p.22) The inability to engage the audience as a passive consumer is 'why gamers spend less time watching television than anyone else on the planet.' (McGonigal, 2001, p.33) Presented with thorough entertainment, we are en-captured within a virtual dimension. We are furthermore open to opportunity; capabilities that are extended from what our biological identity can compete with. 'We aren’t experiencing [the] fear or pessimism.' (McGonigal, 2001, p.32) associated with the use of out biological identity. 'We’ve generated the stressful situation on purpose, so we’re confident and optimistic.' (McGonigal, 2001, p.32) 'within the limits of our own endurance, we would rather work hard than be entertained.' (McGonigal, 2001, p.33) By doing so, our brain is 'trained through tremendous repetition', (Highland, 2010, 16:13) bleeding into the 'real', creating an authentic “panic response” (Highland, 2010, 16:20) to real life distinguishable attributes from the game. “Real life... is starting to look more and more like a video game.” (Highland, 2010, 14:33)

Bibliography:

Highland, M. (2010) 'As Real as Your Life'

Jenkins, Henry (2008) 'Convergence Culture: Where old and new media collide', New York University Press

McGonigal, J., (2011). Reality Is Broken: Why Games Make Us Better and How They Can Change the World, Penguin Press HC, (P.19-34)